I want to see Zeus in a tailored suit and shaggy beard, a
walking disparity of the loud, brash, post-graduate frat boy variety who can’t
pass a woman on the street without catcalls, who has more one-night stands than
he could possibly keep in his head, for whom adultery comes as naturally as the
weather he predicts on the Channel 4 News—with startlingly accuracy, and an
endless wealth of charisma.
I want to see Hera walking tall, six-inch heels and not a
wrinkle in her skirt, knowing her boyfriend is cheating, and knowing with equal
certainty that she is better, stronger, fiercer than he will ever be, a wedding
planner with an eye of steel, spotting vulnerability, slicing it open, teaching
every woman who crosses her path to value themselves over any mistake made in
the name of men and love.
I want to see Poseidon in Olympic prime, a gym rat who
skives off class to shatter backstroke records, who spends his summers
lifeguarding at the city pool, who keeps an ever-expanding aquarium in his
bedroom and coaxes all the pretty girls up to visit his fish, his charm as
impressive as the earth-rending temper he generally uses to fuel his competitive
I want to see Hades, big, hulking, quieter than his brothers
would ever think to be, who dresses in neat dark clothes, and polishes his
boots, and spends more time reading than fighting, who debates eventuality and
ethics, who stoically reminds everyone how enormous, how terrifying, how
inescapable a thing like silentinevitability can be.
I want to see Hermes in a beanie, with watercolor splashes
of tattoo crawling up his arms and holes in his Chucks, a bike messenger with
no helmet, no regard for the rules of the road, all cataclysmic laughter, lock-pick
tricks passed along to every kid who thinks to ask, thumbing through his iPhone
without a care in the world.
I want to see Athena with reading glasses pushed high on her
head, six books in her bag and a switchblade in her back pocket, her clothing
as neatly ordered as her mind is feverish, brilliance and temper clashing and
blending, doing her best to look dignified—even when her brain chemistry
rockets ahead of her well-intentioned plans.
I want to see Apollo splattered with acrylics, board shorts
and Monster headphones and a beautiful classic car, busking on street corners,
not because he has no choice, but because the sunlight catching on a
sticker-patterned acoustic is summer incarnate, because music is blood, because
the act of creation is the ultimate in sublime.
I want to see Artemis in ripped jeans and haphazard topknot,
star of the soccer team, the track team, the archery team, who rides a
motorcycle, and keeps a tribe of girls around her at all times, and does not
care for men, for expectation, for anything but volunteer hours down at the
local animal shelter and falling asleep under the stars.
I want to see Aphrodite in sundress and scarf, homemade
jewelry and lavish amounts of bright red lipstick, who is excellent at public
speaking, at theater auditions, at soothing bruised egos and sparking epic
fights, who kisses as easily as she breathes and scrawls poetry onto bathroom
I want to see Ares all but living in the boxing ring, cutoff
shirts and sweats, red-faced under a crew cut as he punches, punches, punches
until the noise in his head dims, a warrior with no war, all crude jokes and
blind fury, totally incapable of understanding what it is to sit, think, plan
before running screaming into the fray.
I want to see Demeter with the best garden you’ve seen in
your life, with a lawn care business she runs out of her garage, a teenage
prodigy grown into a joint-custody single mother, who teaches her carefree
daughter all she knows while scaring off the hopeful neighborhood boys with the
pet python draped across her shoulders.
I want to see Dionysus with a joint in one hand and a bottle
of wine in the other, baggy hoodies and three-week-old jeans, who brews his own
beer in his basement and greets all visitors with a fresh pack of Oreos and
half-stoned theories of the universe, of birth and death and partying mid-week,
because why not, man?
I want to see Hephaestus with a workshop taking up the
majority of his house, whose kitchen is overrun with blowtorches, whose bathrooms
are home to all manner of hodge-podge invention, who walks with a cane and
forgets his laundry for weeks at a time, and strings together the most
beautiful steampunk costumes at any convention at the drop of a hat.
I want to see wood nymphs fighting against climate change,
waving their signs and pushing for scientific progress. I want to see epic
heroes sitting down to Magic: The Gathering tournaments, poker brawls, Call of
Duty all-nighters with beer and snapbacks. I want to see Medusa working a women’s
shelter, want to see Achilles training for deployment, want to see Prometheus
serving endless community service stints for what he calls providing necessary welfare with stolen goods.
Give me modern mythology. I could play for hours in that
- “Alright who pressed the self destruct button? ”
- “I can soundly assure you he’s 90% dead.”
- “Does anyone have a spare blowtorch.”
- “If we’re about to die right now I want you the know…”
- “So I may have used poison instead of sugar.”
- “What if I kissed you right now?”
- “You know what I changed my mind I’m not having kids.”
- “I probably should have though about the consequences of selling my soul first.”
- “There’s a perfectly good reason for all of these kittens.”
- “Don’t act like you’ve never seen a dead person talking before.”
- “Put your hands somewhere useful.”
- “So I’m either in hell or the heaters been left on for too long.”
- “I told you this would be a bad idea.”
Art trade with @yunyin! Her request: a funny/awkward reveal where the kids come up with a code word/phrase in case they can’t transform and need to convince the other of their identity. And what’s funnier/more awkward than Ladrien?
It wasn’t until the akuma trapped Adrien and Ladybug in the elevator together that Adrien remembered two things: one, his ring was back at the studio on the fifth floor, and two, he wore pants made entirely out of faux fur, and nothing else.
Could you list all of the tropes that you consider "feel good violence"?
Okay, “Feel Good Violence” is very simple as a concept.It’s violence that feels good, when you’re reading it, when you’re watching it on screen, because for the perpetrator violence can feel really damn good.However,that is violence when taken outside of context. It is violence without consequences. It is violence for the sake of violence. Violence that serves no purpose but to prove the character or person is tough.
Protagonist Sanctioned Bullying - Bullying in general is a fairly popular method to achieve “Feel Good
Violence” because bullying does feel good. The audience sympathizes with
the protagonist, so when the protagonist acts they cheer for it. Its
not presented as bullying by the narrative, but it is still bullying.
Usually it’s a rival or a character set up to “deserve it”, but sometimes not.
Making people afraid makes you feel tough. Many authors will fall prey to the sweet lure of bullying and not even know it because bullying is violence without fear of consequence. Most often, they’ve been the recipients rather than the perpetrators, and acting as the bully is a very different ballgame. It is an emotional and psychological high. You feel big, strong, safe, and untouchable. Powerful.
In their worst incarnations, most superheroes become bullies.
Bullying is all about control, protected status, and freedom from consequences. An entirely fictional world creates the opportunity for all these things, with the narrative itself siding with the bully. Bullying is Feel Good Violence writ large in real life. It’ll follow you into the fictional world just as easily. Power is a high you never forget.
This is very common trope for characters who also act as a means of self-insertion by the author. For them, it isn’t bullying. It’s an example of how awesome their character is and how tough they are.
Everything But Dead
- When the only morals applied are if someone died, the rest is sanctioned without comment. There are no narrative consequences for the character’s behavior, and everyone cheers them on. Anyone who calls them out is an acceptable target, usually evil, or the protagonist wins them over in the end because their actions are “justified”.
By Any Means Stupid - This is the “by any means necessary“ trope, where the violence really isn’t necessary and the author just wanted an excuse to paint the room red.
Unprovoked Violence Is Always the Solution - This is the one where the protagonist skips all the other steps and goes straight to preemptive violence against a total stranger, for no reason other than it makes them appear tough. Usually not framed by the narrative as bad, but it is. Oh, yes, it is. Worse there usually aren’t any consequences for the hero physically assaulting someone in a room full of witnesses because everyone knows they’re the hero, right?
Random Violence Before Strangers is A-Okay - The
protagonist disembowels a bully in front of their victim in order to
protect them and receives effusive thank yous. Nothing comes from this.
The bad guy is dead. We all feel good. All is right in the world.
Except… violence freaks people out.
Acceptable Targets - These are people designated by the writer as non-entities and targets for violence regardless of narrative context. A very slippery slope that is ever descending. But, you know, it feels good? Sure, so long as you’re not on the receiving end. This kind of dehumanization happens in real life too, just in case you were wondering.
Beating Up My Source - You have a character who collects information from an old standby, they threaten and beat up that standby regularly to show they’re tough. At what point does this seem like a terrible idea? Never! Hey, they’re a bad person so you feel good, right?
Waving My Gun Around - Trigger discipline is just the beginning of this problem.
A gun is not a toy. but you’ll find a vast array of narratives who use it that way in order to look tough.
Killing Your Way to the Top - You can’t really destroy organizations like this. Killing the people at the top will just lead to someone else taking their place. Whenever you create a power vacuum someone will fill it. You can’t destroy an organization by killing. It doesn’t work. But, it feels good!
Must Obviously Be Boy - Because female fighters are unicorns and the mooks have never laid eyes on a woman before. Usually part of a larger narrative issue with violence, but acts as a “get out of jail free” card.
Clear the Building - That time the character decided to knock everyone out to prove that they are tough. Weirder when it happens on stealth missions.
I Am Not Gaining Levels - When you’re reading a book and the character is fighting like it’s a video game. They fight everyone like they’re in an RPG chasing XP. Why? We don’t know, but it makes them feel good.
Let Me Shoot Him Twenty Times - We could call this spray and pray, but let’s pretend for a moment the magazine could run dry.
Magic Bullets - The bullets that go where you want, stop when you want, and don’t cause accidental casualties. You know, like the protagonist blind firing through a wall and hitting a four year old playing in the yard across the street.
Body Armor Always Prevents A Blow-through - Nope!
New to Training, Perfect Sparring - That time the main character took on their evil rival (school’s top/better trained student) in a sparring match and won, especially when it was their first day.
Sparring Just In General - The vast majority of Western media doesn’t understand the concept or purpose of sparring. Many authors seem to think its a UFC match where you just beat each other up and the first thing you do during training to “assess your capabilities”.
Queuing for Combat - This is an old Hollywood trick where the burden of a group fight is lifted as the stuntmen wait their turn to fight the protagonist. Particularly egregious in written action sequences where the author doesn’t grasp the concept of teamwork. It also warps the understanding of how many people its possible for a human to fight at once.
Terrible At Torture - Torture is a terrible way to gain information in general because it doesn’t lead to a confession so much as confirmation bias. The subject will tell you whatever you want to hear because they want the pain to stop. It’s even worse when done poorly, which it is 90% of the time. Usually, media uses it for shock value or to prove how tough a protagonist is. Torture is not putting a blowtorch to someone’s foot and hoping for the best. It’s far, far more complicated than that. Neither torturer nor subject come out of the experience whole. Besides, the unimaginative protagonists say, “screw you!” The clever ones lie.
What Is: Dress for Success - How we dress our characters is often necessary for crafting a sense of narrative realism. This comes in often as a reason for why its so difficult to take female action heroes seriously, but it happens to the guys too. Not a bad trope on its own, but often symptomatic of a larger narrative approach to violence that ends with “feel” and “good”.
Beautiful and Badass - This one is a very specific female fantasy, which is that you can meet all the cultural standards and definitions for beauty while being in direct defiance of them. These are the female characters who are never touched by the combat they engage in. They are always graceful, always elegant, always beautiful in motion and the narrative will pause to tell us this often. “She fights like she’s dancing.” For these characters, their supermodel-esque beauty is a natural extension of their being. They don’t work at it. Combat is incidental. It’s a set piece to tell you how awesome the character is. It generally amounts to nothing, serves no real narrative purpose, but by god the author is going to walk us through it in excruciating detail. Combat and character are separate, and consequences are for other people.
My Instincts Performed A Wheel Kick - Your instincts just don’t work that way.
There’s probably more, but that hits most of the major sins.
Keep in mind that many of these tropes are not issues by themselves. They often work when context and consequences are taken into account by their narrative/setting. Generally, this results in characters with no accountability for their behavior and exhibit no responsibility for their actions. The issue, of course, is that responsibility and accountability are what make well-written violence work. Violence often drives the narrative. It’s part and parcel to who the character is, and their decision making. It’s the difference between a character who presents themselves as tough or skilled and one who actually is.
nothing surprises me in this community anymore i have 0 expectations i just get on every day and see “i want ted bundy to fuck my ass with a blowtorch” and im like haha oh classic tedbundyspuckeredasshole52(:
May 11 2017 - Workers at a car component factory in central France have occupied the plant and are threatening to blow it up in a radical protest against their bosses as the site risks closure.
The workers at the GM&S auto-suppliers plant in the Creuse region, north of Limoges, have told Renault and Peugeot they are ready to blow up the factory if their demands are not met.
Some 280 jobs at the site are under threat after the plant went into receivership back in December, and workers accuse the two car giants of blocking negotiations for a takeover of the factory and of making too few orders.
The protesters have already started destroying machinery at the site. Photos released on social media on Thursday, show them cutting a machine in half with a blowtorch. CGT trade union representatives say the workers will destroy a machine each day unless their demands are met. [video]/[video]